It’s difficult to believe that anyone who read Truman Capote’s “In Cold Blood,” about the murder of four people of the Herbert Cutler family in Holcomb, Kansas, would think of buying a house in the country. The house shown in Deon Taylor’s “The Intruder,” filmed by Daniel Pearl in British Columbia standing in for California’s Napa Valley, is a spacious estate with a large acreage of grass framed by a forest, just the kind of quarters that demands the presence of either a couple of Doberman Pinchers or an army of guards from the Secret Service. There are more rooms than can be explored in a single trip guided by a real estate agent, and some of those rooms will turn up at a surprising moment in the suspense-filled plot.

Director Taylor, whose “Traffik” considers the plight of a romantic couple who are invaded by a group of bikers, is right in his métier here, though you don’t need more than one psycho to allow its likewise romantic duo to regret their move from a beautiful apartment complex in the city to the dangers of the sticks.

If Scott Howard (Michael Ealy) and his wife Annie (Meagan Good) are a well-suited, upper-middle-class couple with a happy marriage bound to produce a beautiful family in a year or two, then Charlie Peck (Dennis Quaid) can be considered a guy married to a house. After his wife died, allegedly from cancer, his daughters living elsewhere, Charlie needs to sell his quarters, but the problem is that while he needs the $3.5 million, or the $3.2 million he settles on, throwing in his furniture because he really wants these two lovebirds to settle there, he has no intention of giving up the place. He’s the neighborly guy that you can’t get rid of, though Annie, who feels sympathy for the man and has a vague attraction to him, is making it difficult for her husband to throw the guy out.

One day Charlie is mowing the lawn, which is no longer his, but try to tell him that. Another day he is helping with the hanging up of ornaments. When Scott is in the hospital, injured by a car on the rural road, Charlie comes over with a pizza for Annie, which just happens to be large enough for the young woman to invite the guy in to share it with her. When Scott and Annie’s friend Mike (Joseph Sikora) stubs out his cigarette on a decaying statue obviously beloved by the former owner, and when the guy urinates on the lawn, you can see the almost perpetual smile on Charlie’s face disappear, replaced by a sickly scowl.

“The Intruder” is a psychological thriller, sometimes passing itself off as a horror movie though it does not have the accoutrements of the genre, one in which the villain takes on the kind of role that so many actors would love, given that many Hollywood performers have regularly said that the villain usually has the juiciest role versus the blandness of the good guys. That’s certainly true here, as Quaid can charm those he is with given his broad, toothy smile and hale-fellow image,while Ealy and Good (the latter with a pixie-ish hair style resembling a young Nia Long) are in the roles of people who have made it at a relatively young age, acting the part of people who can afford to lay out several million on their abode with the promise of another million in fixing-up.

The major part of the movie balances humor with scares, the big attraction being the give-and-take of friendly dialogue among the three, their screenplay afforded by David Loughery whose script for “Penthouse North” considers the fate of a reclusive, blind photojournalist who lives quietly in a New York penthouse, until a smooth but sadistic criminal looking for a hidden fortune enters her life. When the physical stuff begins during the final third of the story, the action is predictable, following the playbook of so many other film that portray violence.

Ealy, Good and Quaid’s dialogue bounces merrily back and forth, with Scott Howard’s becoming increasingly suspicious about the congenial former homeowner and Annie Howard’s leaning on Charlie when her husband is away at work or in the hospital. This is for the most part a solid psychological thriller, the tension ratcheted up by Geoff Zanelli’s music, the country mansion furnished elaborately by production designer Andrew Neskoromny.